Scott Joseph


Selected Work

Printed Matter:

The Beginning of Forms
Companion Planting
Times Maker
Skeleton Argument
The Tone Is Theirs
Mark & Measure


Language Without Place
For As Far As I Can See
Alphabetical Pareidolia
Mute Written Orchestration


Found When Out I
Found When Out II
Combination Prints
Spirit Level
Display Unit


Speech Flies Away, Written Words Remain
Like A Tongue That Tried To Speak
A-Z Directions
Notes On A White Painting


Yet to be filed

My practice as a designer takes an enduring relationship with typographic led processes as a basis to explore how a message operates. Predominant is to question the role of all forms of communication, and how translation processes (through both visual and semantic based material) become evident via myriad types of editorial activity.

A central aspect within my work concerns the muted purpose of printed surfaces, and how they function to condition image and language construction.

These fundamental elements outline a broader engagement in human behaviour within built environments, and how together relationships are elicited between what is cognate and visible or realised, resultantly hinting towards renewed kinds of meaning for what is considered either an image, text or object.

I graduated from the graphic design department of the Gerrit Rietveld Academie in 2009, and have exhibited print based work at London's Tate Modern (Offprint, 2015), and have been included in New York's Museum of Modern Art Library (2012) and Amsterdam's Stedelijk Museum Archive (2012), as well as part of the 25th and 27th editions of the Brno Biennale, Czech Republic (2012, 2016).

In 2017 I kept a visual and inter-textual based column in IDEA magazine, Tokyo, Japan, and was a designer in residence at Rogaland Kunstsenter, Stavanger, Norway.

I have taught graphic design at University for the Creative Arts, UK (2014); University of East London, UK (2015); ArtEZ Institute of the Arts, Arnhem, NL (2016); Arts University Bournemouth, UK (2017), and Bucks New University, UK (2018), in various capacities as: lecturer, associate lecturer, and visiting and guest tutor.

Selected Activities


Type and Image Tutor, B.A Graphic Design
Bucks New University, UK, Autumn, 2018


'Alphabetical Pareidolia'
AIGA Eye on Design No.2 (Print Issue)
New York, US, 2018

Petshop Doorbell
I.C.W. Felicia von Zweigbergk
Amsterdam, NL, July, 2018

The Beginning of Forms
Published by Rogaland Kunstsenter
Stavanger, Norway, July, 2018

Geraldo Dos Santos
I.C.W. Geraldo Dos Santos
Amsterdam, NL, April, 2018

So Far So Real
I.C.W. Radna Rumping
Amsterdam, NL, September, 2017

Rogaland Kunstsenter
Stavanger, NO, July, 2017

Times Maker
Hit Gallery
Geneva, CH, June, 2017

Companion Planting
Goldsmiths, UOL Allotment
London, UK, June, 2017

Language Without Place
IDEA Magazine, Issues No. 376–379
Tokyo, JP, January, April, July, October, 2017

Skeleton Argument
Wellcome Collection
London, UK, 2016

27th Brno Biennale
Brno, CZ, 2016


Things We Didn't Have Before
Pump House Gallery, Battersea Park
London, UK, 2015

Under The Sign
Platform for Contemporary Art
Amsterdam, NL, 2014

Goethe Institute
Amsterdam, NL, 2014

No Is The Only Word In A-Z
Perdu Foundation
Amsterdam, NL, 2012

Mute Written Orchestration
Marres, Centre for Contemporary Culture
Maastricht, NL, 2012

X Marks The Bokship
London, UK, 2012

San Serriffe
Amsterdam, NL, 2011

The Object Lag
Nieuwe Vide
Haarlem, NL, 2010

GRA Magazine
Gerrit Rietveld Academie
Amsterdam, NL, 2009

(c) 2008—2018


Our passage to and between any kind of place and destination is effected by our actions, but also our behaviour within and around them, which are likewise transmogrified when undertaking other instances of repetitive habitual occurrence.

Lights, of all number, adorn places of habitat. They primarily notify us of information important for our safety, as well as for our navigation. However, lights likewise function as another type of parameter, something altogether different to the pragmatic qualities they are originally intended for.

Offered through light is a counter to the impenetrable bodily gestures present between ourselves. Additionally, light in our everyday environment connects the ways images are formally constructed: scanners use the same type of xenon light which appears in the gaps adjoining an escalators steps. Likewise, the sodium wall lights affixed to the exterior facades of train station entrances and exits are used in transparency exposure units, and allow serigraph prints to be produced. It could even be suggested that the process of inverting the function of a light serves as a confirmation of seeing a light as a representation of denouement.

Under The Sign
Platform for Contemporary Art
Amsterdam, NL, 2014